Matt Craig has contacted me !!! Good news !!!!!!!!!!!!!!!
>>> >>> >>>"EK Sound" <askme@nospam.com> wrote in message news:452d122a@linux... >>>> 64 tracks lets you out of all th
Re: Matt Craig has contacted me !!! Good news !!!!!!!!!!!!!!!
>;oP > > >"TCB" <nobody@ishere.com> wrote in message news:452cf17b$1@linux... >> >> This really is more of a pissing match than anything else, and won't >really >> effect anyone. The Spamhaus guys say (I think correctly) that the Illinois >> court has no jurisdiction to make the order and refused to contest it. So >> the judge
r but only a top 50% Live user and I'm trying to change that. The great scandal is that they all sound freaking great, arguments about summing bus minutae to one side. Good luck, TCB "John" <no@no.com> wrote: > >So, what's the least expensive system I can get with high quality sound, >latency compensation for vsts and able to do > 64 tracks with the pro features >like Paris? If DJ pitches in, cost is no object but for now I need cheap. > >16 ins and outs would be nice > >And how about the Behringer ADS8000 for A/D convertors? EK Sound <askme@nospam.com> wrote: >If you want truly pro... as in no problems and
ase/Nuendo...Sonar..In that order "John" <no@no.com> wrote: > >Which ones sound the best? > >"Don Nafe" <dnafe@magma.ca> wrote: >>I wouldn't be so hasty to jump to conclusions...but it's your choice...get > >>your wallet out cause you're gonnan need it >> >>heehehehehehe >> >>Don >> >> >>"John" <no@no.com> wrote in message news:452d3042$1@linux... >>> >>> I can't do things in their infancy anymore. I need something mature with >>> plug in automation and latency compensation. Ideas ? >>> I'm gonna check DJs garbage can and see what he's throwing out. >>> >>> John >>> >>> "Don Nafe" <dnaf
Paris aux sends, patching the output card to the FX sends/returns in stereo pairs in the Paris patchbay. I don't know if it will make any difference in intitializing the modules to have them on opposite sides of the MEC (mine are next to each other in slots 1 & 2 and they work just dandy. Deej "michael bliss" <mbliss1@austin.rr.com> wrote in message news:452da3d1$1@linux... > > Hey guys, > just got my new 8 out card from Morgan and was wondering, exactly how do > I hook this bad boy up? I put it on the far left slot on the back of the > MEC so to differentiate from the 8 in modules. > > How do I hook this up from the patch bay and send back to various outboard > gear? Will I be able to send track 16 out to an effect and then back to 16, > or do I have to go to a different channel? Also, what is the 8 out card called > in the patchbay? > > thanks for any help, > > michael blissAlso, what is the 8 out card called > in the patchbay? A8oT "michael bliss" <mbliss1@austin.rr.com> wrote in message news:452da3d1$1@linux... > > Hey guys, > just got my new 8 out card
de, were the machine keeps restarting on start up. So it could be the FW card. Speaking of hight quality mass-produced computer hardware, every time I add memory to my PC, the system goes haywire, with distorted display, crashes, the restarting thing, or just fails to boot. I've tried different memory, it's definitely the high quality after market MOBO. James > >TCB wrote: > >> Never happened to me, and there ain't no fruit labeled computers in my house. >> I use a Presonus FW interface on both my laptop and desktop all the time. >> Maybe I'm just lucky. >> >> EK Sound <askme@nospam.com> wrote: >> >>>Having your interface "dissapear" during a session (PC) requiring a >>>re-boot is not what I would call pro. While the quality of the >>>interfaces is good, it's Windows control of Firewire that is not. I >>>would stay away from FW for serious work until they get it sorted out. >>> The MAC support of FW is fine, but it should be... they invented the >>>thing! ;-) >>> >>>David. >>> >>>TCB wrote: >>> >>>>What's not 'pro' about firewire interfaces? >>>> >>>>EK Sound <askme@nospam.com> wrote: >>>> >>>
www.fookstore.com/ProductDetails.asp?ProductCode=3DFo ok%2DV008 > >> > >>These cards are sweet. Be sure to install the AGP card and load = the (most > >>recent NVidia unified) driver for it first. Then install the PCI = card. > It > >>will use the same driver. In my usual fashion, I just crammed = both cards > >in > >>the mobo, fired her up and the PCI card loaded but the AGP card = wouldn't > >>load so
rge window = during playback > >>could cause a farily serious surge, enough to worry about in a = heavy > >>session. > >> > >>Deej > >> > I choose Polesoft Lockspam to fight spam, and you? http://www.polesoft.com/refer.html ------=_NextPart_000_005F_01C6EDFB.9A292600 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable &l
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le setup is a crazy one too. >For now I connect like this: >Creamware Pulsar card adat optical out feeding Soundscape SS8IO-2 ADAt/tdif >CONVERTER. >Soundscape's wordclock out goes to Mec 1 >Creamware Pulsar Adat out feeds another SS8IO-2 which feeds another mec via >wordclock. >Soundscape SS8IO-3 (8 AD/DA converter) gets clock from SS8IO-2's TDIF out >and same SS8IO-3 send via wordclock clock to 3rd mec. >With me so far ? >Now the fun part. >First SS8IO-2 sends clock to ADI-PRO8 (used for main DA) via their TDIF conncetion. > >1st Mec sends wordclock out to a Behringer ultramizer which reclocks my main >AD converter which has no w/c in out. >2nd Mec sends w/c to a DBX 376 preamp and from there to a DBX 386 with daisy >chaining >3rd Mec send wordclock to Behringer ADA-8000 8 channel converter. >Pulsar Creamware of course is the master device. >ADAT sync out sends clock to Lexicon core 32 reverb card (thanks DJ) >Now whose wordclock setup is the crazyest mine or DJ's ? > >Now here is the real question. &gt
> listening environment. Cheers, -Jamie http://www.JamieKrutz.com Neil wrote: > "John" <no@no.com> wrote: > >> Ok, what hardware can do this? > > A Studer 827, plus a console, plus a bunch of outboard gear can > do all that. > > >> Daw needed: > > Oh... sorry, didn't see that part at first. > >> Truly pro audio sound quality >> Records 24 analog channels simultaneously while playing back 24 analog >> Can play back 60 analog channels total with dozens of plugsins. >> I/O needs to be 20 feet away from the computer that is in another room >> Has a mix buss that doesnt get crushed by lots of tracks >> Supports plugin delay compensation and plugin automation. >> Supports VSTi's > > CubaseSX (or Nuendo, of course) can do all this if you go with > 2 RME Multiface's. Each Multiface has 8 analog ins & outs, plus > 4 or 8 lightpipe channels, depending on your samplerate (up to > 48k you can get 8 lightpipe channels, over that, the > lightpipe's bandwidth limits it to 4), and 2 SPDIF ins & outs; > so really you could get 36 total in's & outs going at once with > 2 Multifaces. Or if you need 24 strictly analog i/o's, then 3 > Multifaces would be your ticket. > > As far as the mix buss goes, I am pretty sure I can hear a > difference between Cubase V3 and V1, which I had before... I > say "pretty sure" because there's always the chance I'm just > convincing myself that there's a difference when there really > is not - as I understand it, starting on v2 was when they used > the same audio engine as Nuendo (v1 supposedly did NOT have the > same audio engine as Nuendo -
I've not been able to get a > definitive answer on this). Worst-case scenario, run submix > stems if you're worried about mix buss overstuffing (one stereo > submix each for drums, bass & other low-end stuff, guitars, > keys, vocals, and whatever else might be applicable - you could > do a separate one for solo instruemnts & ambient tracks, for > example); anyway, get yourself at least four submix stems, then > import those into a new project either for a straight-ahead > group mixdown or mastering & you can DEFINITELY hear a > difference that way. It's not a huge difference, but it's > definitely one you'll notice. > > I'm pretty sure the Steinberg stuff is the only DAW solution > that will do literally everything you specify above, without > exception. > > NeilHi, Here in Greece there is no such option from any store ! I see most wordclock generators are 6 output wise ! What do you do if you need say 8 or nine ? Regards, Dimitrios "gene Lennon" <glennon@NOSPmyrealbox.com> wrote: > >"Dimitrios" <musurgio@otenet.gr> wrote: >> >>Hi, >>Not only DJ but my humble setup is a crazy one too. >>For now I connect like this: >>Creamware Pulsar card adat optical out feeding Soundscape SS8IO-2 ADAt/tdif >>CONVERTER. >>Soundscape's wordclock out goes to Mec 1 >>Creamware Pulsar Adat out feeds another SS8IO-2 which feeds another mec >via >>wordclock. >>Soundscape SS8IO-3 (8 AD/DA converter) gets clock from SS8IO-2's TDIF out >>and same SS8IO-3 send via wordclock clock to 3rd mec. >>With me so far ? >>Now the fun part. >>First SS8IO-2 sends clock to ADI-PRO8 (used for main DA) via their TDIF >conncetion. >> >>1st Mec sends wordclock out to a Behringer ultramizer which reclocks my >main >>AD converter which has no w/c in out. >>2nd Mec sends w/c to a DBX 376 preamp and from there to a DBX 386 with daisy >>chaining >>3rd Mec send wordclock to Behringer ADA-8000 8 channel converter. >>Pulsar Creamware of course is the master device. >>ADAT sync out sends clock to Lexicon core 32 reverb card (thanks DJ) >>Now whose wordclock setup is the crazyest mine or DJ's ? >> >>Now here is the real question. >>If I use a clock generator I will need 8-10 clock outputs to clock everything. >>I don't wanna spend more than 600-700 $ for a complete wordclock setup that >>will be stable and hassle free and soundwise better than Paris clock. >>I thought of the HOSA cheap and a distributor. >>I thought of having ADI-PRO8
ally split among various companies. Here's a pretty in depth explanation: http://www.teener.com/FireWire/index.html Regards, Dedric On 10/12/06 9:00 AM, in article 452e5685@linux, "EK Sound" <askme@nospam.com> wrote: > Having your interface "dissapear" during a session (PC) requiring a > re-boot is not what I would call pro. While the quality of the > interfaces is good, it's Windows control of Firewire that is not. I > would stay away from FW for serious work until they get it sorted out. > The MAC support of FW is fine, but it should be... they invented the > thing! ;-) > > David. > > TCB wrote: >> What's not 'pro' about firewire interfaces? >> >> EK Sound <askme@nospam.com> wrote: >> >>> If you want truly pro... as in no problems and good sound... Card >>> based I/O is the way to go (No USB or FW). The RME stuff sounds great >>> and works well. The Multiface also has and adat I/O port for >>> additional capability. >>> >>> David. >>> >>> John wrote: >>> >>>> Rather, Which audio interfaces are truly pro quality and can give me >> >> 16 in/outs? >> >>>> RME ? others ???? >> >>"John" <no@no.com> wrote: > >Thanks, I have a lot to learn. I won't buy it if I have to do stems though. > It's a pain in the ass enough as it is. You don't "have" to do stems... I just said that you can hear a difference if you do. You can also hear a difference if you use one brand of convertors as opposed to another, or run your mix through a Dangerous 2-buss, or take several submixes out of your analog outs of the Multiface & sum them though an external mixer, or if you were to stuff your ears full of cotton... it may be a difference you like, or a difference you find so miniscule as to not matter. NeilA Lucid GenX6 gives you 6 WC outputs. Adding a Lucid CLK-6 gives you another 6 WC outputs, but you lose one GenX6 output to connect to the CLK-6 so you end up with 11 clock outputs total. I'm not really convinced that using clock regenerators is the best of solutions, but it may work for you. As far as Mytek gear goes, I was also using the WC output of a Mytek Stereo 96 A/D converter for my house clock until it went south on me. I can no longer get reliable sync from this unit (it still clocks reliable to the Lucid GenX-6) and I've also got a Mytek Stereo 96 DAC that has quit functioning properly. The s/pdif inputs no longer work, thought the optical input still works. I'm getting ready to ship them *both* back to Mytek.........Mytek gear sounds great, but I'm not really impressed with it's reliability at this point. Rosendahl makes a clock module that has 12 outputs. Deej Deej "Dimitrios" <musurgio@otenet.gr> wrote in message news:452fb984$1@linux... > > Hi, > Here in Greece there is no such option from any store ! > I see most wordclock generators are 6 output wise ! > What do you do if you need say 8 or nine ? > Regards, > Dimitrios > > "gene Lennon" <<a href="mailto:glennon@NOSPmyreal
box.com" target="_blank">glennon@NOSPmyrealbox.com> wrote: > > > >"Dimitrios" <musurgio@otenet.gr> wrote: > >> > >>Hi, > >>Not only DJ but my humble setup is a crazy one too. > >>For now I connect like this: > >>Creamware Pulsar card adat optical out feeding Soundscape SS8IO-2 ADAt/tdif > >>CONVERTER. > >>Soundscape's wordclock out goes to Mec 1 > >>Creamware Pulsar Adat out feeds another SS8IO-2 which feeds another mec > >via > >>wordclock. > >>Soundscape SS8IO-3 (8 AD/DA converter) gets clock from SS8IO-2's TDIF out > >>and same SS8IO-3 send via wordclock clock to 3rd mec. > >>With me so far ? > >>Now the fun part. > >>First SS8IO-2 sends clock to ADI-PRO8 (used for main DA) via their TDIF > >conncetion. > >> > >>1st Mec sends wordclock out to a Behringer ultramizer which reclocks my > >main > >>AD converter which has no w/c in out. > >>2nd Mec sends w/c to a DBX 376 preamp and from there to a DBX 386 with > daisy > >>chaining > >>3rd Mec send wordclock to Behringer ADA-8000 8 channel converter. > >>Pulsar Creamware of course is the master device. > >>ADAT sync out sends clock to Lexicon core 32 reverb card (thanks DJ) > >>Now whose wordclock setup is the crazyest mine or DJ's ? > >> > >>Now here is the real question. > >>If I use a clock generator I will need 8-10 clock outputs to clock everything. > >>I don't wanna spend more than 600-700 $ for a complete wordclock setup > that > >>will be stable and hassle free and soundwise better than Paris clock. > >>I thought of the HOSA cheap and a distributor. > >>I thought of having ADI-PRO8 rme as master and buy just a distributor like > >>Drawmer 20 out (!!!) D-clock device whic sells for 700 $ but I am afraid > >>of RME as master. > >>Anyone to rescue me ? > >>Regards, > >>Dimitrios > >> > > > >I also have a fairly complicated digital setup and use a Mytek for master > >wordclock. I do not run multiple parallel wordclocks and my setup works > fine > >with no real wordclock issues. Why don't you borrow a wordclock generator > >and see if you can just go directly to the Pulsar Creamware card and switch > >it to external leaving everything else untouched. I can't guarantee it but > >it's worth trying. > > > >You are not using the Paris wordclock (which is not terrible). I thought > >the Creamware clock was considered ok, are you sure you will hear any improvement > >short of a very high-end clock? A Big Ben or Mytek would probably make a > >noticeable improvement. All the more reason to borrow one first. > > >Deej, you know I'm just giving you a hard time... rock on with yer bad mad-scientist self! Neil "DJ" <notachance@net.net> wrote: >These are the blessings of a never boring life Neil (and Amy's still >hanging in there, bless her heart.) >;o) > >Actually....I'm getting a bit bored with trying to do what may be possible >but is hitting the point of diminishing returns as far as the PITA factor is >concerned. > >I'm going to reconfigure a few projects to mix here in Cubase with 8 stems >bussed to Paris submix 1 for summing. I think I can achieve the same mojo >without all the convoluted voodoo routing between the two DAWs. If that's >the case, I'll likely stop the madness. I'm gettin' kinda tired of this to >be honest. > >I've got one more experiment to try with Forte though. It may put this whole >thing over the top. Stay tuned. > >;o) > > >"Neil" <OIUOIU@OIU.com> wrote in message news:452edd97$<a href="mailto:1&#
64;linux..." target="_blank">1@linux... >> >> "DJ" <notachance@net.net> wrote: >> >It's possible to route virtual instruments directly to Paris audio >channels >> >and play in real time. Bye Bye needing Cubase as a VSi host in tracking >> >sessions. >> >> Omigod, Lamont... look what you've started! >> >> This week = Deej being excited about this new app, loving it in >> every regard, thrilling in it's versatility. >> >> Next week = "Hmmm, I wish there was this ONE little other thing >> I could get it to do... I'm gonna try reconfiguring this a bit; >> I'll keep you guys posted." >> >> Next week in some 4:00 in the morning post = "OK, after going >> through seventeen BSOD's in one night, seventy-five cups of >> coffee, and a divorce, I finally got this thing streaming at >> 576k, upconverting through three Lavry Blue DAC's in series, >> then crunching to 12-bit though a Fairlight CMI Series 1, >> paralleled with an EMT Plate reverb and back in through a set >> of ADC's a friend of mine made from a toaster (note if you're >> going to try this: the older, black bakelite toasters sound >> WAAAY better than the newer silverface stainless steel ones), >> I then tried using a "warming" circuit built from a magnetron >> tube out of a 1972 Amana microwave oven, and lo & behold, it's >> WORKING!!!" >> >> (Five minutes later at 4:05am): "Damn, this #*&#%$&^%^@ setup >> just started smoking & caught my Behringer Headphones on fire >> as I was trying some new mix techniques... or was it the >> headphones that caught the rig on fire - they ARE Behringers, >> after all? Anyway, it's a good thing that I'm pretty much a >> cueball up there, or else I'd feel like Michael Jackson in that >> Pepsi commercial. More later, I'm going to bed now - good thing >> Amy left me, or else I'd have to sleep on the couch, what with >> me smelling like a fireplace & all. Oh well, at least I have >> the dogs." >> >> Later that same morning at 6:00 am = "ARGH! It's only 5:59 and >> already this is the day from hell! The dogs kicked me out of >> bed, I tried going out into the stable, thinking Amy had taken >> the horses with her & at least I'd have some peace & quiet >> there, but between the horses kicking me, the bears rummaging >> around in the trash bins outside, and this muthaf^%#king skunk >> that just HAD to make his presence known, I didn't sleep a >> wink... well, off to the bathtub to soak in some peroxide & >> tomato juice to try & get this skunk smell off of me... I've >> got clients coming in at 10:00 for a mix session." >> >> Next day in the afternoon = "Whew! Man, I am exhausted, 176 >> hours straight with no sleep, and with the problems I'm having >> with this rig, I don't think we got a viable mix down on ANY of >> their songs... because of the fire in the new PC, I went back >> to a Paris/Cubase mix matrix summed to a TASCAM Portastudio for >> that phat analog sound, and everything was going well until I >> tried to get the Portastudio sync'ed to a word clock - >> disaster... I was so sleepy that I didn't realize this was an >> impossibility... BTW, anyone know how to unwedge a BNC cable >> from an RCA audio-in jack once they've been super-glued to each >> other???" >> >> :D >> >> >> > >Just buyone of everything, each with a separate dedicated computer and identical converters and build a separate, identical control room for each DAW, oriented in a big circle and get you one of those Herman Miller chair that is the industry standard for mix rooms and office hockey and then open the doors to each conrol room. Hire someone to push said chair, sync all the DAWs to a common clock and timeline synchronizer. Hit play on the synchronizer and they will all start playing the same project at once. Then have your chair pushed from room to room to each sweet spot while you sit in a lotus position contemplating the mix bus of each DAW. Get back to us with your findings. ;o) "John" <no@no.com> wrote in message news:452fb161$1@linux... > > Thanks, I have a lot to learn. I won't buy it if I have to do stems though. > It's a pain in the ass enough as it is
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J /wAaiBPlSc9G 49qKKChkZJeYkk4SpLbqp77aKKSDqWk6H6mmy9H+lFFMRWnJ8ojJxUEQH2Vj jnNFFSW9hIyd x+tSSf6+P3BzRRSH0I3/AOPg/SpJOUNFFPqCKbAbH47GktySseTng0UVJcQu QFlG0AfMOlVp wBqQA4ynP60UUS2Etyy33M01/vGiiky+hS1VmTT7h1YqwjJBBwRxXzr4M/4m HxLP2/8A0v8A eN/r/n/nRRUr4i6v8Fn0MiqsIVVAAGAAKpED7TGMDoaKKzZlT+EkYAKcADml fov0oooRsUb0 nzV+n9arXXEfHHy0UVMhrc//2Q== --------------000803090701020009080900--Increase your config settings... is there an echo in here?? ;-) David. John wrote: > Is there a trick to looping in freeform? I'm only looping, no punch in but > if I loop more than 2 or 3 times I get that ugly Tqueue type crash. Are > there any tricks to allow for a bunch of freeform looping?So are these infrared interfaces? C'mon......where's the snakepit? ;o) "EK Sound" <askme@nospam.com> wrote in message news:452fc637@linux... > You mean, like this? ;-) > > david. > > Don Nafe wrote: > > > ProTools HD3 > > > > It's the Industry standard > > > > you'll have regular updates keeping you on the cutting edge of technology > > > > without a doubt it is the essence of "today's sound" > > > > You'll be the envy of all your "Project Studio" friends > > > > You'll be able to sit back all comfy in your smugness knowing that all other > > players are in fact pretenders > > > > ProTools HD3...it's the only way to go > > > > > > "John" <no@no.com> wrote in message news:452fb161$1@linux... > > > >>Thanks, I have a lot to learn. I won't buy it if I have to do stems > >>though. > >>It's a pain in the ass enough as it is. > >>John > >> > >>"DJ" <notachance@net.net> wrote: > >> > >>>"Neil" <OIUOIU@OIU.com> wrote in message news:452f8e96$1@linux... > >>> > >>>>"John" <no@no.com> wrote: > >>>> > >>>> > >>>>>Ok, what hardware can do this? > >>>> > >>>>A Studer 827, plus a console, plus a bunch of outboard gear can > >>>>do all that. > >>>> > >>>> > >>>> > >>>>>Daw needed: > >>>> > >>>>Oh... sorry, didn't see that part at first. > >>>> > >>>> > >>>>>Truly pro audio sound quality > >>>>>Records 24 analog channels simultaneously while playing back 24 analog > >>>>>Can play back 60 analog channels total with dozens of plugsins. > >>>>>I/O needs to be 20 feet away from the computer that is in another room > >>>>>Has a mix buss that doesnt get crushed by lots of tracks > >>>>>Supports plugin delay compensation and plugin automation. > >>>>>Supports VSTi's > >>>> > >>>>CubaseSX (or Nuendo, of course) can do all this if you go with > >>>>2 RME Multiface's. Each Multiface has 8 analog ins & outs, plus > >>>>4 or 8 lightpipe channels, depending on your samplerate (up to > >>>>48k you can get 8 lightpipe channels, over that, the > >>>>lightpipe's bandwidth limits it to 4), and 2 SPDIF ins & outs; > >>>>so really you could get 36 total in's & outs going at once with > >>>>2 Multifaces. Or if you need 24 strictly analog i/o's, then 3 > >>>>Multifaces would be your ticket. > >>>> > >>>>As far as the mix buss goes, I am pretty sure I can hear a > >>>>difference between Cubase V3 and V1, which I had before... I > >>>>say "pretty sure" because there's always the chance I'm just > >>>>convincing myself that there's a difference when there really > >>>>is not - as I understand it, starting on v2 was when they used > >>>>the same audio engine as Nuendo (v1 supposedly did NOT have the > >>>>same audio engine as Nuendo - I've not been able to get a > >>>>definitive answer on this). Worst-case scenario, run submix > >>>>stems if you're worried about mix buss overstuffing (one stereo > >>>>submix each for drums, bass & other low-end stuff, guitars, > >>>>keys, vocals, and whatever else might be applicable - you could > >>>>do a separate one for solo instruemnts & ambient tracks, for > >>>>example); anyway, get yourself at least four submix stems, then > >>>>import those into a new project either for a straight-ahead > >>>>group mixdown or mastering & you can DEFINITELY hear a > >>>>difference that way. It's not a huge difference, but it's > >>>>definitely one you'll notice. > >>>> > >>>>I'm pretty sure the Steinberg stuff is the only DAW solution > >>>>that will do literally everything you specify above, without > >>>>exception. > >>>> > >>>>Neil > >>> > >>>Me too. > >>> > >>> > >> > > > > > ------------------------------------------------------------ ---------------- ----I'm thinking about getting one of these. It looks like the equivalent of digital Enzyte. "EK Sound" <askme@nospam.com> wrote in message news:452fc57e$1@linux... > You NEED this: > > http://www.rosendahl-studiotechnik.de/nanoclocks.html > > David. > > Dimitrios wrote: > > Hi, > > Not only DJ but my humble setup is a crazy one too. > > For now I connect like this: > > Creamware Pulsar card adat optical out feeding Soundscape SS8IO-2 ADAt/tdif > > CONVERTER. >
1bUCdx3jMan6fxfU/lXqK+VGgSMKqgYVFGPwxVcT4mw56A9uv ParVuuf3zL8x Hyj0H+NO9wUVEfHHtXLbd46k0qNukXC4+tJMcryemCfpTyyqyqT8zdKRQlxI cGNQSSOSP4c0 qZUBIGDHOXJohKKpjU5C9/WofMSGRdvALbSB3GP8aYE9y+flRRvJAJPOAe9J HG6ZeRxycYHQ UrfOyFMYDZP5GnBCQfmPXIoC4N82BQFGfpRkbsZG4dqUsB1oENdivAJyRn2o DCMkOeGwF9c0 wSJIhZXG0dSKi0q5069t/tNhcR3CBiC6tkg9wc8g0AXHOOKrvnnAGaJJNzMI znjqKYGMZ7bg e/f/ADxTTE0ToowQvJHUGkZQFJNLHuDqxzyDxUUk481UIZSe2OtF7Ctcack4 zUVwziM+WBn3 ov7mG0ge5uJEijUEu7sFVRjqSeleDfEb44tBPJpPg63+0TNkG7lTI3f7C9/q fypSmo6FwpuW uyPUfF/iCHTbYrLKqMwwSzAL+deO+IZm8cavaeHdLUXt9cTgW7I3MTd2z2UA En2FeM69F4l1 67a98QapPJK5+7JIWI/DoK+uf2QvhXF4T8OHxZqcJOranH/o4kHMFueR9C/B PtgetZJuW5VS Siko7v8Aq56v8NfBun+CfDEGkWX7yXAe6uCMNPLjlj7dgOwro7meG2tpLieV IoolLu7HAVQM kk+mKkB4rzD4yeMhpNxaaGjS24uTlrkqPKLdoiemT1weD09qJSCnBbHlHxH+ Nt5feLBHpbyR aPbPiMKdruQf9Z9fQeleufC74oad4lhhsr6eNLxwBFL0Wc+n+y3t37elfO3x B8ERzRS614bg 2lQXu9OTnYOpkhHdOuU6r2yMhfOtJ1q50yXfDIdjdVzwamMXDfU0dSM3a1j7 X+KnhbS/EOlv Z+I4vNstxa2v1T97YMf73rH6noO/TcPkb4meC9Y8F6z9i1OCMwy5+zXEfKTI D1U9uvIPI468 Gvdvgz8aYL61h0XxTOdp/dwX8h6Hssh7f735+tdh408O2E+kvpN/Zm/0KUkr EozJanrvhPXj +56fdyPlHZTjzqxx1L05XR8VsHtlaOWNRKxWRTj7vcZ/SsvUruFAV3lp9/zL twoHfv1zXb/F /wAJXPhK+DRTRX2l3QJtLuM5V0PIB/usPT8q840mwv8AWtVS0sbSa6nc5EcK F2IHU4HYetYT unY3jKKjzM9C+BfgLUviR4zt7FhJ/ZlsRJfT9AkWfu59W6D8T2r7+sbS10rS 4LGwtkgt7eMR wxRjCqoGABXH/AvwJbeAfh/ZaWsKrfzIJ79+7TMORn0X7o+nvXedaUtuVGVN OT9pLr+C/rcw dM0KCLV5tau4xcalMNnnvz5adkQfwr9Op5NbexT1Gaf0pmGJ+9gelYQpRgrb m8pOTux4A6Ci kHHcmgsB1Naki1FKkj42TNH9AD/OiS4gjGZJo0H+0wFOjmikGY5Ef/dYGjRj 2K7Q3fa8b8UX /Cs++/t22/eW1zBMo6pNBk/gVIx+RrborKdJtaSaKjOz1R8BxffNWk4kjxxm iivOWx6zLdr/ AMfP51YuOhoorR7GSMHxF/qX+ldb+zszf29qybjtNuhIzwTmiitsN1MsRv8A ee+wgFcEA9a5 n4rzz2vgjUp7aaSCVV+V42KsOD0IoortlscUPiPlN2aWO/lkJeRfLIZjkgnO efevof4H2dpH 4MSaO1gSVn+Z1jAY8nqaKKtbHPP4vmem2gH2ReByTmpgT5J5/gP9aKKXQ1KT /wDLI/8ATOtO zJMS5J6UUUxsmIGD9KzLlmMhBJ4JA56UUUdRIfEx3JyeoHX3qT/lsn50UUAW rLv7hT+lWR0o ooBla25uZ8+tSvRRTF0GQ8NJj+9/SojDFHuMcSIXAL7VA3Hnk+tFFAuwlgAE IAp0X/H2/wDn 0oooAeeWT/gX9Kgbm+XPPzUUUMXQ87/aIkcaPpUQdhHJO29AeGwBjI714t4a t7dB4glWCJZE m2o4QAqPQHsKKKT2kXU2gc9oKJN4vsY5lWRHvYlZXGQwLgEEHqK/RHAWDaoC gLgAcYoorCl8 Bdb+L8l+o8fc/CvFfiKiXWh60lyizqYpiRINwyM46/SiitYbmc/gZ5p4XuLg +EdLuTPL5/kR t5u87s4bnPXPA/IV5b8aIYbb4na1DbRRwxLOCEjUKoyoJ4HqSTRRS+yay/if 15Gp8HFWTxNp Mcih0OqRAqwyMHqMe9fYEwB0y6QgbF80KvYAA4A+naiiuyh8JyVfj+R83fG4 AtrkJAMXlRSb P4d7QozNj1LEknuSTXZ/sVWFh/wru7v/ALFbfa31ERvP5S+YyhlIUtjJA9KK K56nxSIrf8uv X9D6RpRRRWZ1hSdqKKQGfqbuqPtdh8p6H2qppQDsC4DHHU80UVx1viOmn8DN hVXH3R+VPAGO goorohsYMKafvUUVoiT/2Q== --------------050508090809010608090703--Which ones. I'm sure mine are already very generous like this: *** PARIS Configuration *** *** ENGINE configuration parameters *** * Cache Size in MB CacheSize=128 * Overview cache size in KB OvwCacheSize=8192 * I/O configuration IOSize=256 * SubMix Cache Size in KB SubMixCacheSize=256 ManualRecDelay=4096 RecXFadeLen=20 Use32BitWinMTC=0 DisableDirectX=0 MasterOutputCard=0 ScrubMaxRate=1 WheelSensitivity=20 WheelInertia=68 CSProVersion=ABCDEFGH VSTDirectory=C:\vsts\ MIDIPlayDisabled=1 EK Sound <askme@nospam.com> wrote: >Increase your config settings... is there an echo in here?? ;-) > >David. > >John wrote: > >> Is there a trick to looping in freeform? I'm only looping, no punch in but >> if I loop more than 2 or 3 times I get that ugly Tqueue type crash. Are >> there any tricks to allow for a bunch of freeform looping?So what would be the fastest, most stable, proven solution for a 'Paris on ME' cat looking to jump to 'Paris on XP' and build a new box, mobo/CPU combo? Any takers on this one? Rob"Dimitrios" <musurgio@otenet.gr> wrote: > >If I use a clock generator I will need 8-10 clock outputs to clock everything. >I don't wanna spend more than 600-700 $ for a complete wordclock setup that >will be stable and hassle free and soundwise better than Paris clock. >I thought of the HOSA cheap and a distributor. >I thought of having ADI-PRO8 rme as master and buy just a distributor like >Drawmer 20 out (!!!) D-clock device whic sells for 700 $ but I am afraid >of RME as master. >Anyone to rescue me ? >Regards, >Dimitrios > FYI: What comes out of a wordclock distribution box is not always the same as what went in. g"John" <no@no.com> wrote: > >Ok, what hardware can do this? > >Daw needed: > >Truly pro audio sound quality > >Records 24 analog channels simultaneously while playing back 24 analog > >Can play back 60 analog channels total with dozens of plugsins. > >I/O needs to be 20 feet away from the computer that is in another room > >Has a mix buss that doesnt get crushed by lots of tracks > >Supports plugin delay compensation and plugin automation. > >Supports VSTi's > There are a lot of ways to skin a cat. This might be one of them, the new Tascam DM-4800, with Logic, DP, Cubase, or Nuendo, etc... You could also hook up an analog tape deck, they are cheap these days. The Tascam DM-4800 is available now! With the optional FireWire card you get 32x32 I/O channels to your computer with one cable. You could get a FW Extendit box and have the computer 300 ft. away if you wanted. A hight quality 20' FW cable should work though. This is your DAW controller, analog and digital audio interface, effects processor, audio router, talk back facility, transport controller, etc... If that's not enough inputs for you, with two DM-4800s and a single cable you get 128 inputs. There is also the X-48, but I think a computer is a better idea. DM-4800 http://www.tascam.com/Products/dm4800.html DM-4800 video demo and pricing: http://www.sonicstate.com/news/shownews.cfm?newsid=3562 X-48 http://www.tascam.com/Products/x48.html JamesHey Dimitrios! This ones got 8+ http://www.lucidaudio.com/index.php?Show=216&Show1=& Show2=406 "Dimitrios" <musurgio@otenet.gr> wrote: > >Hi, >Here in Greece there is no such option from any store ! >I see most wordclock generators are 6 output wise ! >What do you do if you need say 8 or nine ? >Regards, >Dimitrios > >"gene Lennon" <glennon@NOSPmyrealbox.com> wrote: >> >>"Dimitrios" <musurgio@otenet.gr> wrote: >>> >>>Hi, >>>Not only DJ but my humble setup is a crazy one too. >>>For now I connect like this: >>>Creamware Pulsar card adat optical out feeding Soundscape SS8IO-2 ADAt/tdif >>>CONVERTER. >>>Soundscape's wordclock out goes to Mec 1 >>>Creamware Pulsar Adat out feeds another SS8IO-2 which feeds another mec >>via >>>wordclock. >>>Soundscape SS8IO-3 (8 AD/DA converter) gets clock from SS8IO-2's TDIF out >>>an
ou wanted. A hight >>quality 20' FW cable should work though. >> >>This is your DAW controller, analog and digital audio interface, effects >>processor, audio router, talk back facility, transport controller, etc... >> >>If that's not enough inputs for you, with two DM-4800s and a single cable >>you get 128 inputs. There is also the X-48, but I think a computer is a >>better idea. >> >>DM-4800 >>http://www.tascam.com/Products/dm4800.html >> >>DM-4800 video demo and pricing: >>http://www.sonicstate.com/news/shownews.cfm?newsid=3562 >> >>X-48 >>http://www.tascam.com/Products/x48.html >> >>James >> >"John" <no@no.com> wrote: > >Dude, you think I'm made of money? I'm running Paris aren't I. Think > $3K >!!! Let me guess, you also want this to be real potable too; ) James > >"James McCloskey" <excelsm@hotmail.com> wrote: >> >>"John" <no@no.com> wrote: >>> >>>Ok, what hardware can do this? >>> >>>Daw needed: >>> >>>Truly pro audio sound quality >>> >>>Records 24 analog channels simultaneously while playing back 24 analog >>> >>>Can play back 60 analog channels total with dozens of plugsins. >>> >>>I/O needs to be 20 feet away from the computer that is in another room >>> >>>Has a mix buss that doesnt get crushed by lots of tracks >>> >>>Supports plugin delay compensation and plugin automation. >>> >>>Supports VSTi's >>> >> >>There are a lot of ways to skin a cat. This might be one of them, the new >>Tascam DM-4800, with Logic, DP, Cubase, or Nuendo, etc... You could also >>hook up an analog tape deck, they are cheap these days. >> >>The Tascam DM-4800 is available now! With the optional FireWire card you >>get 32x32 I/O channels to your computer with one cable. You could get a >>FW Extendit box and have the computer 300 ft. away if you wanted. A hight >>quality 20' FW cable should work though. >> >>This is your DAW controller, analog and digital audio interface, effects >>processor, audio router, talk back facility, transport controller, etc... >> >>If that's not enough inputs for you, with two DM-4800s and a single cable >>you get 128 inputs. There is also the X-48, but I think a computer is a >>better idea. >> >>DM-4800 >>http://www.tascam.com/Products/dm4800.html >> >>DM-4800 video demo and pricing: >>http://www.sonicstate.com/news/shownews.cfm?newsid=3562 >> >>X-48 >>http://www.tascam.com/Products/x48.html >> >>James >> >"John" <no@no.com> wrote: > >Dude, you think I'm made of money? I'm running Paris aren't I. Think > $3K >!!! Let me guess, you also want this to be real portable too; ) James > >"James McCloskey" <excelsm@hotmail.com> wrote: >> >>"John" <no@no.com> wrote: >>> >>>Ok, what hardware can do this? >>> >>>Daw needed: >>> >>>Truly pro audio sound quality >>> >>>Records 24 analog channels simultaneously while playing back 24 analog >>> >>>Can play back 60 analog channels total with dozens of plugsins. >>> >>>I/O needs to be 20 feet away from the computer that is in another room >>> >>>Has a mix buss that doesnt get crushed by lots of tracks >>> >>>Supports plugin delay compensation and plugin automation. >>> >>>Supports VSTi's >>> >> >>There are a lot of ways to skin a cat. This might be one of them, the new >>Tascam DM-4800, with Logic, DP, Cubase, or Nuendo, etc... You could also >>hook up an analog tape deck, they are cheap these days. >> >>The Tascam DM-4800 is available now! With the optional FireWire card you >>get 32x32 I/O channels to your computer with one cable. You could get a >>FW Extendit box and have the computer 300 ft. away if you wanted. A hight >>quality 20' FW cable should work though. >> >>This is your DAW controller, analog and digital audio interface, effects >>processor, audio router, talk back facility, transport controller, etc... >> >>If that's not enough inputs for you, with two DM-4800s and a single cable >>you get 128 inputs. There is also the X-48, but I think a computer is a >>better idea. >> >>DM-4800 >>http://www.tascam.com/Products/dm4800.html >> >>DM-4800 video demo and pricing: >>http://www.sonicstate.com/news/shownews.cfm?newsid=3562 >> >>X-48 >>http://www.tascam.com/Products/x48.html >> >>James >> >I e-mailed the folks at Brainspawn this morning describing my setup and telling them what I was hoping to do with Forte vis-a-vis Paris. They are interested to see how this goes and they provided me a developers license so I can try to get this happening. Now that I've got a full version that saves presets and won't time out, the first thing I'm going to do is to try to create preset FX rack for Paris using UAD-1 plugins with the Delaycomp + an additional sample delay (which is possible with this plugin) to compensate for the buffer settings of the native audio interface. I'm going to work my way up to a 40 channel scenario with 8 stereo aux busses to/from Paris. The Delaycomp will be set to compensate for 4 or 5 UAD-1 plugins (this may chage depending on how much latency is created and how this translates to the Paris editor timeline usability-wise). I'll be doing some latency measurements to see if it's going to be something that can work reasonably well when working with Paris automation while mixing. If the latency is low enough to allow usable visual reference in the Paris editor during automation tasks, then we've got something we can use, so as I mentioned before, the number of plugins possible will be more or less dependent on the *feel* of all of this. The routing capabilities of this program are mind boggling and may provide us the elusive bussing options that we currently lack in Paris. If this looks like it's going to be successful, I'll make up a few templates and get them to Kim so Parisites can DL them for use with the Forte product. I can even envision this working with a native audio interface running on the same machine as Paris (thus precluing the need for two DAWs), as long as it had the horsepower. If it works the way I'm hoping, this would allow you to open up a template that is preset to compensate for "X" number of plugins on each track that is routed from the I/O of a DAW running UAD-1 plugins and Forte to the I/O of Paris. I think I may be able to get multiple external hardware processors working across Paris submixes...like I'm doing with Cubase right now. It appears that Forte has some synchronization options as well. I'm not far enough into it to even know if plugin parameters can be automated, but if so, and it is slaved to the Paris timeline, then that's another biggie. Will it be stable? .............well, anything would be more stable than what is happening when trying to work this way with Cubase SX so it's worth a try. Will it sound good? Not sure. there will definitely be more gainstaging issues than what is happening in SX, but hey.....we're supposed to be engineers and it's our job to kick some gainstage ass!!!!!........right? Putting on the lab coat (which has straps to modify it as a straightjacket)
utomation usable with up to 5 UAD-1 plugins on a track. This was the first experiment......to see if it's possible to load lots of UAD-1 plugins on a track and still be able to use Paris fader automation relative to the timeline of the editor as the timeline scrolls during playback. If this didn't work I was going to bail immediately since my whole point of this is to achieve something that is actually practical using Paris automation. Now I'm going to get brutal with Forte/my native DAW and streaming from different submixes and see if I have any of the freezeups that I was having with Cubase SX. (rubbing palms of hands together with evil glee!!!)...........MUHAHAHA!!!!..........c'mon Igor.......let's get a pair of pliers and a blowtorch and get midevil on it's ass.......... ;o) "Larry Upton" <lupton@kpbs.org> wrote in message news:452fe661$1@linux... > Why do I envision Gene Wilder in "Young Frankenstein" with the lightning > striking around him, crying out "It's Alive! It's Alive!", every time I > read one of DJ's messages? > > Rock on, dude.... > > Larry Upton > > DJ wrote: > > I e-mailed the folks at Brainspawn this morning describing my setup and > > telling them what I was hoping to do with Forte vis-a-vis Paris. They are > > interested to see how this goes and they provided me a developers license so > > I can try to get this happening. > > > > Now that I've got a full version that saves presets and won't time out, the > > first thing I'm going to do is to try to create preset FX rack for Paris > > using UAD-1 plugins with the Delaycomp + an additional sample delay (which > > is possible with this plugin) to compensate for the buffer settings of the > > native audio interface. I'm going to work my way up to a 40 channel scenario > > with 8 stereo aux busses to/from Paris. The Delaycomp will be set to > > compensate for 4 or 5 UAD-1 plugins (this may chage depending on how much > > latency is created and how this translates to the Paris editor timeline > > usability-wise). I'll be doing some latency measurements to see if it's > > going to be something that can work reasonably well when working with Paris > > automation while mixing. If the latency is low enough to allow usable visual > > reference in the Paris editor during automation tasks, then we've got > > something we can use, so as I mentioned before, the number of plugins > > possible will be more or less dependent on the *feel* of all of this. The > > routing capabilities of this program are mind boggling and may provide us > > the elusive bussing options that we currently lack in Paris. If this looks > > like it's going to be successful, I'll make up a few templates and get them > > to Kim so Parisites can DL them for use with the Forte product. I can even > > envision this working with a native audio interface running on the same > > machine as Paris (thus precluing the need for two DAWs), as long as it had > > the horsepower. If it works the way I'm hoping, this would allow you to > > open up a template that is preset to compensate for "X" number of plugins on > > each track that is routed from the I/O of a DAW running UAD-1 plugins and > > Forte to the I/O of Paris. I think I may be able to get multiple external > > hardware processors working across Paris submixes...like I'm doing with > > Cubase right now. It appears that Forte has some synchronization options > > as well. I'm not far enough into it to even know if plugin parameters can be > > automated, but if so, and it is slaved to the Paris timeline, then that's > > another biggie. Will it be stable? .............well, anything would be more > > stable than what is happening when trying to work this way with Cubase SX so > > it's worth a try. Will it sound good? Not sure. there will definitely be > > more gainstaging issues than what is happening in SX, but hey.....we're > > supposed to be engineers and it's our job to kick some gainstage > > ass!!!!!........right? > > > > Putting on the lab coat (which has straps to modify it as a straightjacket) > > . Stay tuned, > > > > :O) > > > > > > "LaMont" <jjdpro@ameritech.net> wrote in message news:452e9d5c$1@linux... > > > >>DJ, check out this VST host app. Could replace your Cuabse SX in hosting > > > > FX. > > > >>http://www.brainspawn.com/products/ > > > > > > >"DJ" <notachance@net.net> wrote: >Well....good news so far. The buffer/latency of the audio interface on the >native DAW is set at 512k. If I nudge the Paris tracks to the left by 10+1 >samples and then insert a Sampleslide instance on both of these tracks set >to 48 samples, I am sample accurate compensating for the latency of the >native audio interface. Now here's the good part: >I have the UAD-1 delay compensation set for 5 x UAD-1 plugins on two >instances of Forte routing audio through two Paris kick drum tracks right >now. I've got Drumagog inserted on both tracks and a UAD-1 LA-2A inserted on >the other. I set the UAD-1 Delaycomp to compensate for 4 plugins and I'm >locked on tight as a ....well......drum.....and the latency relative to the >timeline scrolling across the Paris editor is not a factor at all. I hear >the hits as the events are displayed on the editor. this makes Paris >automation usable with up to 5 UAD-1 plugins on a track. This was the first >experiment......to see if it's possible to load lots of UAD-1 plugins on a >track and still be able to use Paris fader automation relative to the >timeline of the editor as the timeline scrolls during playback. If this >didn't work I was going to bail immediately since my whole point of this is >to achieve something that is actually practical using Paris automation. > >Now I'm going to get brutal with Forte/my native DAW and streaming from >different submixes and see if I have any of the freezeups that I was having >with Cubase SX. > >(rubbing palms of hands together with evil >glee!!!)...........MUHAHAHA!!!!..........c'mon Igor.......let's get a pair >of pliers and a blowtorch and get midevil on it's ass.......... > >;o) > Doctor Deej, your going to make me switch my Paris rig to PC,..... aren't you? James > >"Larry Upton" <lupton@kpbs.org> wrote in message news:452fe661$1@linux... >> Why do I envision Gene Wilder in "Young Frankenstein" with the lightning >> striking around him, crying out "It's Alive! It's Alive!", every time I >> read one of DJ's messages? >> >> Rock on, dude.... >> >> Larry Upton >> >> DJ wrote: >> > I e-mailed the folks at Brainspawn this morning describing my setup and >> > telling them what I was hoping to do with Forte vis-a-vis Paris. They >are >> > interested to see how this goes and they provided me a developers >license so >> > I can try to get this happening. >> > >> > Now that I've got a full version that saves presets and won't time out, >the >> > first thing I'm going to do is to try to create preset FX rack for Paris >> > using UAD-1 plugins with the Delaycomp + an additional sample delay >(which >> > is possible with this plugin) to compensate for the buffer settings of >the >> > native audio interface. I'm going to work my way up to a 40 channel >scenario >> > with 8 stereo aux busses to/from Paris. The Delaycomp will be set to >> > compensate for 4 or 5 UAD-1 plugins (this may chage depending on how >much >> > latency is created and how this translates to the Paris editor timeline >> > usability-wise). I'll be doing some latency measurements to see if it's >> > going to be something that can work reasonably well when working with >Paris >> > automation while mixing. If the latency is low enough to allow usable >visual >> > reference in the Paris editor during automation tasks, then we've got >> > something we can use, so as I mentioned before, the number of plugins >> > possible will be more or less dependent on the *feel* of all of this. >The >> > routing capabilities of this program are mind boggling and may provide >us >> > the elusive bussing options that we currently lack in Paris. If this >looks >> > like it's going to be successful, I'll make up a few templates and get >them >> > to Kim so Parisites can DL them for use with the Forte product. I can >even >> > envision this working with a native audio interface running on the same >> > machine as Paris (thus precluing the need for two DAWs), as long as it >had >> > the horsepower. If it works the way I'm hoping, this would allow you to >> > open up a template that is preset to compensate for "X" number of >plugins on >> > each track that is routed from the I/O of a DAW running UAD-1 plugins >and >> > Forte to the I/O of Paris. I think I may be able to get multiple >external >> > hardware processors working across Paris submixes...like I'm doing with >> > Cubase right now. It appears that Forte has some synchronizat
ion >options >> > as well. I'm not far enough into it to even know if plugin parameters >can be >> > automated, but if so, and it is slaved to the Paris timeline, then >that's >> > another biggie. Will it be stable? .............well, anything would be >more >> > stable than what is happening when trying to work this way with Cubase >SX so >> > it's worth a try. Will it sound good? Not sure. there will definitely be >> > more gainstaging issues than what is happening in SX, but hey.....we're >> > supposed to be engineers and it's our job to kick some gainstage >> > ass!!!!!........right? >> > >> > Putting on the lab coat (which has straps to modify it as a >straightjacket) >> > . Stay tuned, >> > >> > :O) >> > >> > >> > "LaMont" <jjdpro@ameritech.net> wrote in message >news:452e9d5c$1@linux... >> > >> >>DJ, check out this VST host app. Could replace your Cuabse SX in hosting >> > >> > FX. >> > >> >>http://www.brainspawn.com/products/ >> > >> > >> > >> > >"DJ" <notachance@net.net> wrote in message news:452fe487@linux... >3 x Multifaces = 3 HDSP PCI cards..........take it from someone who has >been > down this road, if you want to get other things in your DAW besides the > PCI > cards, you're going to need a Magma (or two) capable of interfacing via > PCIe > and if you want to go to 64 bit when time comes and a current mobo, you're > gonna need a 64 bit Magma (or two) that interfaces via PCIe. Now put on > some > Ravi Shankar or L. Subramanian, sit cross legged on a big soft pillow, > light > some incense, close your eyes and envision dollar signs with big wings > emerging from your back pocket and disappearing into the void. > > ........ooooommmmm............ooooommmmmmm...............ooo oouuuuuccccchhhh > hhhh!!!!!!!!! > > ;oP > Funny I think I said somewhat the same thing many posts ago heehehehehehe DOn ps. DJ - way to go on the Forte app...looking forward to your resultsYes. I've got 12 drum tracks cranking through various combinations of UAD-1 plugins. They're absolutely slammin' with no drift/slop at all and the editor is scrolling right along with the audible hits on the events with 5 plugins compensated on all 12 tracks. The CPU meter on the DAW running Forte is idiling between 2% and 3% while processing these 12 tracks. I'm having a problem with the menu's in forte right now. I've got 72 I/O on my native rig. They show up in stereo pairs and then below as mono I/O. When I go to choose an output for a new bus, I can't go beyond 12 before the menu runs out at the bottom of my screen. I've got a post in to the developer about this right now. Also, I'm seeing something that leads me to believe that it may only be possible to create 15 busses in this app. I'm not sure about this yet but that's gonna limit a few things as I need to be able to create a bus for *every* Paris track in order for this to work the way I need it to so I'm gonna need 36 mono busses and 10 stereo busses. ......back to the lab........I'm getting ready to torture my UAD-1 cards..............muhahahaha!!!!!! "James McCloskey" <excelsm@hotmail.com> wrote in message news:452fff68$1@linux... > > "DJ" <notachance@net.net> wrote: > >Well....good news so far. The buffer/latency of the audio interface on > the > >native DAW is set at 512k. If I nudge the Paris tracks to the left by 10+1 > >samples and then insert a Sampleslide instance on both of these tracks set > >to 48 samples, I am sample accurate compensating for the latency of the > >native audio interface. Now here's the good part: > >I have the UAD-1 delay compensation set for 5 x UAD-1 plugins on two > >instances of Forte routing audio through two Paris kick drum tracks right > >now. I've got Drumagog inserted on both tracks and a UAD-1 LA-2A inserted > on > >the other. I set the UAD-1 Delaycomp to compensate for 4 plugins and I'm > >locked on tight as a ....well......drum.....and the latency relative to > the > >timeline scrolling across the Paris editor is not a factor at all. I hear > >the hits as the events are displayed on the editor. this makes Paris > >automation usable with up to 5 UAD-1 plugins on a track. This was the first > >experiment......to see if it's possible to load lots of UAD-1 plugins on > a > >track and still be able to use Paris fader automation relative to the > >timeline of the editor as the timeline scrolls during playback. If this > >didn't work I was going to bail immediately since my whole point of this > is > >to achieve something that is actually practical using Paris automation. > > > >Now I'm going to get brutal with Forte/my native DAW and streaming from > >different submixes and see if I have any of the freezeups that I was having > >with Cubase SX. > > > >(rubbing palms of hands together with evil > >glee!!!)...........MUHAHAHA!!!!..........c'mon Igor.......let's get a pair > >of pliers and a blowtorch and get midevil on it's ass.......... > > > >;o) > > > > Doctor Deej, your going to make me switch my Paris rig to PC,..... aren't > you? > > James > > > >"Larry Upton" <lupton@kpbs.org> wrote in message news:452fe661$1@linux... > >> Why do I envision Gene Wilder in "Young Frankenstein" with the lightning > >> striking around him, crying out "It's Alive! It's Alive!", every time > I > >> read one of DJ's messages? > >> > >> Rock on, dude.... > >> > >> Larry Upton > >> > >> DJ wrote: > >> > I e-mailed the folks at Brainspawn this morning describing my setup > and > >> > telling them what I was hoping to do with Forte vis-a-vis Paris. They > >are > >> > interested to see how this goes and they provided me a developers > >license so > >> > I can try to get this happening. > >> > > >> > Now that I've got a full version that saves presets and won't time out, > >the > >> > first thing I'm going to do is to try to create preset FX rack for Paris > >> > using UAD-1 plugins with the Delaycomp + an additional sample delay > >(which > >> > is possible with this plugin) to compensate for the buffer settings > of > >the > >> > native audio interface. I'm going to work my way up to a 40 channel > >scenario > >> > with 8 stereo aux busses to/from Paris. The Delaycomp will be set to > >> > compensate for 4 or 5 UAD-1 plugins (this may chage depending on how > >much > >> > latency is created and how this translates to the Paris editor timeline > >> > usability-wise). I'll be doing some latency measurements to see if > it's > >> > going to be something that can work reasonably well when working with > >Paris > >> > automation while mixing. If the latency is low enough to allow usable > >visual > >> > reference in the Paris editor during automation tasks, then we've got > >> > something we can use, so as I mentioned before, the number of plugins > >> > possible will be more or less dependent on the *feel* of all of this. > >The > >> > routing capabilities of this program are mind boggling and may provide > >us > >> > the elusive bussing options that we currently lack in Paris. If this > >looks > >> > like it's going to be successful, I'll make up a few templates and get > >them > >> > to Kim so Parisites can DL them for use with the Forte product. I can > >even > >> > envision this working with a native audio interface running on the same > >> > machine as Paris (thus precluing the need for two DAWs), as long as > it > >had > >> > the horsepower. If it works the way I'm hoping, this would allow you > to > >> > open up a template that is preset to compensate for "X" number of > >plugins on > >> > each track that is routed from the I/O of a DAW running UAD-1 plugins > >and > >> > Forte to the I/O of Paris. I think I may be able to get multiple > >external > >> > hardware processors working across Paris submixes...like I'm doing with > >> > Cubase right now. It appears that Forte has some synchronization > >options > >> > as well. I'm not far enough into it to even know if plugin parameters > >can be > >> > automated, but if so, and it is slaved to the Paris timeline, then > >that's > >> > another biggie. Will it be stable? .............well, anything would > be > >more > >> > stable than what is happening when trying to work this way with Cubase > >SX so > >> > it's worth a try. Will it sound good? Not sure. there will definitely > be > >> > more gainstaging issues than what is happening in SX, but hey.....we're > >> > supposed to be engineers and it's our job to kick some gainstage > >> > ass!!!!!........right? > >> > > >> > Putting on the lab coat (which has straps to modify it as a > >straightjacket) > >> > . Stay tuned, > >> > > >> > :O) > >> > > >> > > >> > "LaMont" <jjdpro@ameritech.net> wrote in message > >news:452e9d5c$1@linux... > >> > > >> >>DJ, check out this VST host app. Could replace your Cuabse SX in hosting > >> > > >> > FX. > >> > > >> >>http://www.brainspawn.com/products/ > >> > > >> > > >> > > >> > > > > >Hi, The 2x Multiface/PCI or this combo works well and is affordable. 2x Presonus FS AD/DA converters 1x RME HDSP 9652. Both come out to about the same price. You can mix and match up to 3 HDSP series card to this such as the Multiface, Digiface, 9632 and soon the AES32 and MADI cards and any ASIO based program such as Samplitude will seem then all as one driver. Chris Neil wrote: > "John" <no@no.com> wrote: >> LESS THAN $3k > > Multifaces are about $600, the PCI cards are about $250 > (street); buy all threee at once from the same place & ask them > to cut you some slack since you're buying several & you might be > able to get another maybe 10% or so off. That'd bring you to > about $2,200-$2,300 or so... leaving you with about $700 to $800 > to buy your CubaseSX, wh
efer what I'm doing for a reason. I guess you'd best do something else. "John" <no@no.com> wrote in message news:45321abd@linux... > wow, what a pain in the ass ! > > J wrote: > > That's correct. this is what I'm doing in Cubase SX right now. If I track in > > Paris (which I love for tracking) then render the files, fly them overmy > > network, batch convert them to .wav format in Wavelab, then import them into > > a Cubase project to be processed
ne of the main reasons for this (I'm almost certain) is because of the sample delay between EDS cards. Signals that are routed between the digital I/O of the RME cards from ADAT modules on MECs attached to Cards B/C/D are almost certainly receiving this sample latency. It's a wonder this even works at all. Add to it the fact that the RME cards are all receiving their clock signal from MEC ADAT modules and the modules are on cards A & B, it's almost certain that the RME card that is attached to the MEC on Card B is receiving a clock signal that is not sample accurate with the signal that the other two RME cards are receiving from the ADAT modules on card A. Now, let's throw into this whole equatiion the fact that I've got three outboard modules patched into the three S/Pdif I/O of the RME cards and these devices are receiving their clock signals from the RME cards which are clocked to the Paris ADAT sync and the signals that are routed/being processed through them are routed through auxes on MECs attached to Card C and D (now there's the sample delay between signals routed through these procesors and the 4 x<br /
> Comp #1: Paris is running = =3D >very well on a=3D20 > XP P4 3.0 and all the goodies. 2 active > =3D >size=3D3D2> &nbs=3D >p; =3D20 > ADAT cards along with 32 A-D, D-As, two SPDIFS and a UAD-1 = stocked =3D >for=3D20 > good measure. > &
lt;/FONT> > Comp #2: Cubase Studio 4 on = =3D >my new AMD=3D20 > 4800+ Dualcore with Creamware > =3D >size=3D3D2> &nbs=3D >p; 14=3D20 > chip Pro card with 20 In/out and Delta 66 w/4 x A-D, =3D >D-As=3D20 > and one SPDIF in/out, > =3D >size=3D3D2> &nbs=3D >p; =3D20 > FX-Teleport Host to comp below size=3D3D2> linked by 100mbps LAN. > > Comp #3: Spare A
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